Marduk – Page 6 – Wonderbox Metal

Sovereign – Nailing Shut the Sacrosanct Orifice (Review)

This is the début album by US Black metal band Sovereign.

With an obscure album cover and an intro track, Gnosis, that is equally enigmatic; the album starts with a winding guitar and an increasing unsettling feeling. I’m not sure what to expect.

So when the first song proper, Orbiting Lunar Curse, begins, it’s almost relieving to be confronted with recognisable Black Metal, albeit played with passion and obvious talent.

Subtle mysterious melodies are deftly weaved into the tapestry of dark malevolence that Sovereign spin. This is a band who are very good at what they do.

Their Black Metal is richly realised and not limited to just one feeling or aura. They play music with depth and even incorporate into their sound that rarest of beasts – the Black Metal guitar solo.

The music has an almost physical presence. Guitar riffs and occult rhythms are unleashed with the confidence of master craftspeople.

An organic production gives Sovereign a very enticing sound and all of the songs are sinuous and slippery with reptilian heat.

Nailing Shut the Sacrosanct Orifice combines elements of Deathspell Omega, Marduk and Ondskapt to create an engaging album that fills me with a sense of Blackened grandeur.

I’ve encountered a lot of really good Black Metal recently and Sovereign definitely strike me as one of the best. Have a listen and see what you think.

Barshasketh/Void Ritual – Split (Review)

Barshasketh are based in Scotland and Void Ritual hail from the US. Both bands play Black Metal.

Barshasketh play occult Black Metal with an aura of dark majesty. They contribute two tracks to this split, 17 minutes in length.

The first song is named Palingenesis and immediately demonstrates the band’s quality songwriting and ritualistic riffing.

The music is played at all speeds, from a roaming crawl to blasting spite, and Barshasketh sound on top form either way.

Dominion of Ashes is the next track, and it allays any fears you might have of Palingenesis being a fluke; this song is just as good, if not better than the first.

Featuring Blackened riffs that immediately capture your attention and ice-cold vocals forged from malice, Barshasketh once more proceed to blow me away.

The sound is first rate throughout and this is a very impressive introduction to the band.

For fans of Marduk, Deathspell Omega, Watain and the like.

Void Ritual’s 2014 EP Holodomor was very enjoyable indeed, and they return here with a further three songs, 15 minutes in length.

Void Ritual have shorter songs and are an altogether faster proposition in general than Barshasketh.

Heaven’s Gate rips out of the speakers with venom and razorblades, demonstrating everything that I enjoyed about their earlier EP. If anything though, Void Ritual sound more professional now than they did previously.

Not that this is some sterile, ultra-polished commercial hit machine of course; this is still underground Black Metal through and through. It is, however, tight, focused and boasts a sound that’s as evil as it is satisfying.

Benevolent Mother is up next and continues Void Ritual’s penchant for writing enticing riffs that manage to scream Black Metal whilst at the same time sounding a bit different from the norm.

One of the things that attracted me to this band in the first place is that they may be playing a well-worn style but they do it with enough differences and personality quirks to make them stand out from the pack.

The final song is Temple of the Sun and this continues on where the last two left off; engaging riffs, Devilish atmosphere, roaring screams and top songsmithing. There’s nothing to not like here.

After how good the Barshasketh songs proved to be I was concerned that Void Ritual’s side of the split might be somewhat of a let-down. How stupid of me. Void Ritual can hold their own easily enough and remind me of how much I like their output. There’s just something about them.

These two bands play different facets of Black Metal that complement each other perfectly. Topped off with some excellent artwork this is one split you don’t want to miss.

Ctulu – Sarkomand (Review)

Ctulu are a Black Metal band from Germany and this is their third album.

Ctulu play their Black Metal at speed and with much venom. Their sound is akin to the mid-90’s Swedish Black Metal style which is one that’s always been close to my heart. Think bands like Naglfar, Dissection, Dark Funeral, Marduk, etc.

Sarkomand is not just a derivative though, it has its own personality swimming though the Blackened riffs. A highlight of this release for me is said riffs; Ctulu are strong writers when it comes to the dark melodies of the guitars.

Note; this is not Melodic Black Metal, but rather Black Metal that has a lot of melody in it. It’s a subtle distinction to the uninformed but an important one. There’s nothing jolly or happy here; this is grim, dark Black Metal with melodies that will cut you to ribbons if you’re not careful.

The vocals are raspy croaks befitting the style, although they also throw a few Mayhem-esque semi-clean/chants into the mix on occasion as well as some actual mournful singing – it all definitely adds to the listening experience.

Cold Black Metal is always a good listen and Ctulu play it well. Their chilled delivery is served at the right temperature and this collection of tracks tastes just right to me.

If you enjoy the second-wave sound then Ctulu are a band you should check out. They may be playing the style but they stand tall in their own right and Sarkomand exists on its own merits, of which there are many.

Recommended for fans for frostbitten grimness everywhere. Quality stuff.

Karne – Faith in Flesh (Review)

Karne are a Black Metal band from France. This is their début album.

Karne play the kind of Black Metal that’s fast and aggressive. Blackened riffs and dark melodies tear out whilst scythe-like vocals scream from the dead of night. The singer has a voice like ragged silk and her performance is worthy of dark praises.

The songs rage along effortlessly, propelled by melodic bile and vociferous emanations. It’s the kind of Black Metal that’s easy to like.

The melodies and riffs seem to coast along as the band channel all of their collective hatred and grim determination into these dark musical expositions.

This is Black Metal for fans of Marduk, Immortal, Gorgoroth, Naglfar, Dark Funeral and the like. It’s well-written and very enjoyable. Faith in Flesh is mainly a high-speed affair, but they also know how to lock into a good groove when they need to.

Karne also manage to foster the true Melodic Black Metal atmosphere and mood that the best of these kinds of bands manage. There is just the right combination in their sound of polish and evil, cult malevolence. For me, it works just right.

Check them out.

Misericordia – Throne of Existence (Review)

Misericordia are from Sweden and this is their second album of Black Metal.

This is, unsurprisingly, in the Swedish style and aimed squarely at fans of Marduk, 1349, Immortal and Dark Funeral – high speed blasting and frosted melodies.

The sharp riffs come thick and fast as the drums blast and the Blackened melodies seep into your every pore. The guitars embrace their atavistic, icy Black Metal legacy and they ooze windswept hatred.

Some of the vocals are deeper than normal for this style of Black Metal, although they alternate with more traditional higher screams in addition to these growls.

Solos and leads are played well and the band are very focused on what they want to achieve. The drumming is tight and precise and the songs as a whole are quite satisfying.

If you’re a fan of unholy hyperblast then this is the Black Metal for you.

Nidsang – Into the Womb of Dissolving Flames (Review)

Nidsang are from Sweden and this is their second album of Black Metal.

This is Swedish Black Metal that’s violent and possessed with the rage of the storm. Nidsang want to kill and want to do so at great speed whilst seemingly paradoxically taking their time to do so as well.

This translates to songs that are filled with fast riffing and blasting drums but rather than wear themselves out early and peter off into the blackness Nidsang’s songs are longer than you might expect for anthems this deadly and hate-fuelled.

They love to play fast, of course, but when they slow down to a mid-paced groove they also show they can throw out some tasty riffs. I also like the inclusion of guitar solos, which although not as rare as they used to be, certainly aren’t Black Metal staples.

The singer barks out his disdain for all things holy with rather a growl-tinged scream that doesn’t sound completely human any more.

Nidsang offer us 8 hymns to the darkness spread out over just under 43 minutes. For a rough idea of the area that Nidsang operate in, think Marduk, Watain, Setherial, etc. – fast and vicious Black Metal that is sharp enough to cut someone into ribbons.

It may be nothing new but that’s not the point. There’s something elemental and primal about this kind of Black Metal, and Nidsang play it well.

Check out Into the Womb of Dissolving Flames and see what dark imagery they can conjure up for you.

Fornicus – Storming Heaven (Review)

Fornicus are from the US and this is their début album. They play Black Metal.

Featuring a previous member of the brilliant Aeons of Eclipse, I was excited to see what Fornicus had to offer. Storming Heaven is 8 tracks in 39 minutes – 6 originals, one intro and a Sepultura cover.

This is unholy Black Metal with an evil feel that recalls similar bands like Satyricon and Marduk. There is a touch of Death and Thrash Metal here and there, including some deeper growls in addition to the normal Black Metal vocals.

The songs are fast and heavy with Blackened melodies coating everything. They also have an ear for a good mid-paced riff and sometimes find a great groove to get stuck into and make the most of. This is frequently enhanced by the aforementioned Blackened melodies that seem to seep out of the speakers like liquid silk and pour straight into your ears…

Well, suffice to say it sounds really, really good.

Storming heaven is very well written and the songs have a good rhythmic quality to them. This isn’t just confined to the guitars though as the vocals also follow similar patterns; it makes for a very satisfying listen as the guitars and vocals sync up and become greater than the sum of their parts.

This is not faceless Black Metal with no personality; these songs have bite and the band have talent. A well-recorded sound rounds off a very strong package and Storming Heaven is definitely one of the more enjoyable straight-forward Black Metal albums I’ve heard this year.

Highly recommended.

Sammath – Godless Arrogance (Review)

This is Sammath’s fifth album of Black Metal misanthropy from the Netherlands.

Oh but this takes me back! This is for the people who couldn’t get enough of Panzer Division Marduk – this has the same intensity and visceral assault.

Straight away the band are a whirlwind of razorblade riffs and frenzied drumming. As brutal as a stabbing and as clinical as a missile; these songs are not interested in who gets hurt but only in the wanton amount of collateral damage they can cause.

Accompanied by savage vocals sharp enough to tear reality the music is ferocious and vicious as only scathing Black Metal can be.

Dark melodies cloaked under waves of rhythmic misanthropy truly manifest themselves over time in the 8 hymns to warfare and death that the band deliver.

This is cold and violent. This is murderous and intense. This is Godless Arrogance.

Black Altar – Suicidal Salvation (Review)

Polish Black Metal band Black Altar start things off nicely with a bit of atmospheric piano, and when they’re ready they kick it up a gear and come out blasting.

This is Black Metal with a healthy amount of keyboards and orchestration, but it is used to create a dark atmosphere and accentuate the Metal, rather than swamping it with unnecessary pomp and overdone theatrics. The orchestral interludes work well also; minimalist and dark. In short, they have the mix right.

Whether mid-paced or faster, they have a good sense of rhythm and an ear for a good melody. The mid-paced parts of Pulse ov the Universe for example, are as good as anything Samael have ever done, with the faster parts being a bit more reminiscent of Marduk, or some such. There is even a guitar solo, that rarest of Black Metal things. Possibly my favourite track on this EP, but there is plenty to like here.

A well recorded and played sound complements the release well, and allows the band to sound tight and professional, without sacrificing the feeling of Black Metal darkness and awe that they foster so well.

I look forward to seeing what else this band are capable of. Based on this EP they know their art and I for one admire it.

Craven Idol – Towards Eschaton (Review)

From the foetid corpse of Black Metal we have a surprisingly fresh release from this UK band, who also have a nice sideline in Thrash.

This is a strong album. In every sense of the word. A distinct sense of force and musculature pervades this Black Metal release. Fast, blasting, relentless. This release is all these things and more. This reminds me of the famous Abyss studio-era Black Metal onslaught, where bands such as Dark Funeral and Marduk unleashed their hells on the world. Craven Idol, spiritually, share common ground. And to be fair I’ve missed it!

Songs show good composition, instruments are played well and throats are screamed raw – exactly what you would want from this album. Thrash riffs and more traditional Heavy Metal influences are also incorporated into their sound, all of which help the album to gallop along at a highly enjoyable pace. Not only that though; these influences allow Craven Idol to side-step the problem of being too one-dimensional which has sometimes weakened many a furious Black Metal album.

This is Black Metal with its finger on the pulse just long enough to know when you’re dead.